Submitted by NICOLÁS RAMIREZ SALABERRY null (nicorasan@gmail.com) on 2017-09-12T02:57:23Z No. of bitstreams: 1 Nicolás Ramírez Salaberry - Mestrado - Mandú-Çarará - Repositório - 2017.pdf: 4580327 bytes, checksum: 0bfee1c0b87c1e3040b2be624872d264 (MD5) / Approved for entry into archive by Monique Sasaki (sayumi_sasaki@hotmail.com) on 2017-09-12T17:43:45Z (GMT) No. of bitstreams: 1 salaberry_nr_me_ia.pdf: 4580327 bytes, checksum: 0bfee1c0b87c1e3040b2be624872d264 (MD5) / Made available in DSpace on 2017-09-12T17:43:45Z (GMT). No. of bitstreams: 1 salaberry_nr_me_ia.pdf: 4580327 bytes, checksum: 0bfee1c0b87c1e3040b2be624872d264 (MD5) Previous issue date: 2017-07-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta dissertação pretende estudar múltiplos aspectos, presentes no Poema sinfônico Mandú-Çarará de Heitor Villa-Lobos, que possam estar relacionados com determinadas características identificadas na música indígena brasileira tratada por autores significativos, bem como, refletidos nos estudos mais recentes sobre o “elemento indígena” em Villa-Lobos. O Poema sinfônico Mandú-Çarará, que integra o conjunto de obras do compositor com esta temática indígena, foi elaborado a partir de relatos nativos recolhidos por João Barbosa Rodrigues (1890). Na busca por compreender as diferentes narrativas dos textos envolvidos, analisaremos a estrutura morfológica de cada uma delas. Destacaremos também aspectos musicais da obra que possam remeter às manifestações musicais indígenas. Finalmente, será apresentada uma possível relação entre o texto cantado e a música da obra. / This essay intends to study the multiple aspects from Heitor Villa-Lobos's Mandú-Çarará Symphonic Poem, which may be related to certain characteristics identified in Brazilian indigenous music studied by significant authors, as well as reflected in the most recent studies about the "indigenous element" in Villa-Lobos. The Mandú-Çarará symphonic poem, which integrates the composer’s set of works with the indigenous theme, was elaborated from native accounts collected by João Barbosa Rodrigues (1890). In the search to understand the different narratives from the texts involved in the work, we will analyze the morphological structure of each of them. We will also highlight musical aspects of the work that may refer to indigenous musical manifestations. Finally, a possible relation between the sung text and the work's music will be presented.

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The thesis examines the usage of the method of structured drama in explaining the content of a classical piece of music to pupils on Primary school. In the theoretical part, the arguments which support the combination of artistic domains - Music and Drama - from literacy sources are summarised. The connection is described from the point of view of cross- curricular relations, the activity basis of these domains and the similarities between them. The musical content is also analysed. The thesis focuses also on the used method, especially its goals, techniques and topics used on the Primary school. The research section describes hypothesis, methodology, preparation, realization and the results of an experiment, on several Primary schools. Experimental groups where introduced to the content of the B. Smetana's symphonic poem Šárka by structured drama. Control groups were familiarized with it only by reading and verbal explaining. The focus of the experiment was to compare the understanding of the content between these groups. Key words Structured drama, tale about Ctirad and Sarka, symphonic poem, B. Smetana, understanding, realization, Primary school, cross-curricular relations, listening.

Mémoire en recherche-création. / Ce mémoire est un journal de création intime et introspectif. Il s’intéresse aux doutes et difficultés qui peuvent ponctuer la vie de création. Et cette vie, c’est un ensemble complexe, habité par des préoccupations et phénomènes contradictoires : ombre/lumière, intimité/vie publique, solitude/exposition, émission/réception, dedans/dehors. Le filon, derrière tous ces questionnements, est cette recherche d’unité dans la vie de création ainsi que la pacification du processus créatif. Le premier chapitre de ce mémoire s’intéresse à cette tension entre les aspects intérieurs et extérieurs liés à la vie de création. Le deuxième chapitre décrit les outils musicaux utilisés dans les compositions réalisées pendant cette maîtrise et qui font écho aux réflexions exprimées dans le premier chapitre. Y sont abordés, entre autres choses, la narrativité en musique, le jeu sur les hauteurs, la pulsation, l’écriture filmique. Enfin, le troisième chapitre s’intéresse au processus de création, au propos, ainsi qu’au bilan autour des trois œuvres présentées dans le cadre de ce mémoire Abîmes, Rainbow Odyssey : La rédemption et Flots. À-travers le survol de toutes ces préoccupations sont esquissés les contours d’enjeux majeurs ayant tous influencé à leur manière la musique composée durant cette maîtrise. / This essay is an intimate and introspective creation diary. It is about the doubts and difficulties that can punctuate the artistic life. And this life is a complex whole, inhabited by contradictory preoccupations and phenomena: shadow/light, intimacy/public life, solitude/exposure, emission/reception, inside/outside. The vein, behind all these questions, is this search for unity in artistic life as well as the pacification of the creative process. The first chapter of this essay is about this tension between the interior and exterior aspects linked to the life of creation. The second chapter describes the musical tools used in the compositions made during this master's degree and which echo the reflections expressed in the first chapter. It discusses, among other things, narrativity in music, playing with music notes, pulsation, film writing. Finally, the third chapter focuses on the creative process, the subject, as well as the assessment around the three works presented as part of this essay: Abîmes, Rainbow Odyssey: La Rédemption and Flots. Through the overview of all these concerns are sketched the contours of major issues that have all influenced in their own way the music composed during this master's degree.

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